As pertaining to motion pictures, describes any film that exploits, in its marketing or promotion, the use of stereoscopic (3-dimensional) filmmaking techniques.

This blog is my notepad as I research a nonfiction book spotlighting 3-D genre films of the last century. While the book will focus primarily on films from the 60's, 70's and 80's this blog has no restrictions.

All articles on this blog are copyright 2010-13 of its author,
Jason Pichonsky, unless otherwise stated.

Images are used for information purposes and remain the rights of their respective owners.

Based on a layout by: 16thday


The cameras were set to roll on The Mask by March of 1961. Julian Roffman, having rejected Len Lye’s storyboards, now was forced to take full ownership of the mask's dream world. Lye’s storyboards are dated January 1961, meaning Roffman had less than three months to storyboard and prepare these 3-D dream sequences.

Turning to a psychiatrist recommended to him by the National Institute of Health in Canada for help, Roffman was able to devise the dream sequence scenarios.
He then enlisted associate art director Hugo Wuetrich to draft the storyboards, under his watchful eye of course.

Key personal --Herman Townsley (effects artist), James Gordon(post visual effects)and Herb Albert (cameraman)-- also contributed to the design of the 3-D sequences at this point.

What follows are a few of these storyboards comparing them to frames from the film.

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